Gezicht op de Aareschlucht, nabij Meiringen 1870 - 1900

Editor: Here we have Jean-Henri Jullien's gelatin-silver print, "Gezicht op de Aareschlucht, nabij Meiringen," made sometime between 1870 and 1900. The pale tonality and tight composition make me feel like I’m looking through a keyhole. What elements stand out to you in this image? Curator: Note how the linear bridge introduces a powerful geometric element. The photograph isn’t merely representational; the strong horizontals of the man-made bridge cut across the naturally vertical rock formations. Consider the interplay between organic and constructed forms. How does this juxtaposition contribute to the image’s overall structure? Editor: I see that! The bridge feels almost precarious, emphasized by the chasm below. Is the photograph making a statement about man's relationship to nature? Curator: The composition subtly guides the eye upwards, and then back down and around. The near symmetry of the canyon walls is disrupted by the angular thrust of the bridge. Observe how the texture of the rock differs on either side – this interplay creates a visual rhythm. Do you feel that contrast intentionally destabilizes a classical, balanced structure? Editor: Definitely! Now I'm noticing how the hazy light obscures any fine details, making it hard to tell the actual scale. Was Jullien perhaps interested in flattening the space, pushing the foreground and background together? Curator: Precisely. This manipulation of depth challenges conventional landscape photography. The interplay of light, structure and material points towards a visual experience over mere representation. I suggest considering how semiotics informs and enriches an artwork and challenges our sense of spatial orientation and tactile assessment. Editor: Thank you, I understand that so much better now. I came away from that with an alternative view! Curator: Likewise; it’s been an insightful conversation!